Even a lot of session work. Tony Levin (bass player best known for his work with Peter Gabriel and King Crimson, but who’s also played with Chuck and Gap Mangione, Paul Simon, Dire Straits, Yes, … well, more than I could reasonably put here). commented in his book
Beyond the Bass Clef, that he went years doing session work without having to read music. Most rock/pop/jazz music is largely improvisatory in its structure. It’s really only when you get to larger groups (say more than about 7 or 8) that some sort of notation becomes essential to keep everyone together and even then, the rhythm section (guitar/bass/drums/keys) may not be working from anything more precise than a set of chord changes.
Improvisation goes back as far as music and even some classical music has improvised elements (cadenzas were traditionally improvised before they became commonly notated, Baroque music scored for continuo essentially provides a bassline and chord changes, albeit the chords given in an archaic form (figured bass) that is not widely known by contemporary musicians.
The most amazing improvisers, it turns out, are professional church organists (think the ones who work for the largest churches/cathedrals, not the grandmas playing a church warbler at the corner parish, but sometimes them too). When I auditioned for the Holy Name Cathedral Choir, I wanted to sing a piece by Massenet, but I had lost my original sheet music halfway through trying to transcribe a cleaner copy so I had a melody line and only a few parts of the piano accompaniment. The (assistant!) organist who accompanied me at my audition site-improvised an accompaniment for the piece that was, in my opinion, actually better than the written accompaniment I had lost.
That said, being able to read music can be a sort of superpower. So many times on church gigs, I’ve had guitar players be astonished by my ability to pull chord changes out of piano/organ parts without notated chords. Certainly, some aspects of music are hard to convey in notation. Swung rhythm is a particularly notable case where you’re playing something halfway between a triplet rhythm of ♩♪ and a dotted rhythm (insufficient Unicode to write a dotted eighth followed by a sixteenth). The early transmission of jazz music to European composers by way of sheet music led to them missing out on the rhythmic aspects but picking up some of the harmonic novelties. A common injunction to musicians is to play the music, not the notes.